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St. Bernard of Clairvaux

1090 - 1153 Person Name: Bernard of Clairvaux Hymnal Number: d53 Author of "Jesus, the very [only] thought of Thee [You]" in Manual of Hymns for Congregational Singing, Prayers and Pious Practices Bernard of Clairvaux, saint, abbot, and doctor, fills one of the most conspicuous positions in the history of the middle ages. His father, Tecelin, or Tesselin, a knight of great bravery, was the friend and vassal of the Duke of Burgundy. Bernard was born at his father's castle on the eminence of Les Fontaines, near Dijon, in Burgundy, in 1091. He was educated at Chatillon, where he was distinguished for his studious and meditative habits. The world, it would be thought, would have had overpowering attractions for a youth who, like Bernard, had all the advantages that high birth, great personal beauty, graceful manners, and irresistible influence could give, but, strengthened in the resolve by night visions of his mother (who had died in 1105), he chose a life of asceticism, and became a monk. In company with an uncle and two of his brothers, who had been won over by his entreaties, he entered the monastery of Citeaux, the first Cistercian foundation, in 1113. Two years later he was sent forth, at the head of twelve monks, from the rapidly increasing and overcrowded abbey, to found a daughter institution, which in spite of difficulties and privations which would have daunted less determined men, they succeeded in doing, in the Valley of Wormwood, about four miles from the Abbey of La Ferté—itself an earlier swarm from the same parent hive—on the Aube. On the death of Pope Honorius II., in 1130, the Sacred College was rent by factions, one of which elected Gregory of St. Angelo, who took the title of Innocent II., while another elected Peter Leonis, under that of Anacletua II. Innocent fled to France, and the question as to whom the allegiance of the King, Louie VI., and the French bishops was due was left by them for Bernard to decide. At a council held at Etampes, Bernard gave judgment in favour of Innocent. Throwing himself into the question with all the ardour of a vehement partisan, he won over both Henry I., the English king, and Lothair, the German emperor, to support the same cause, and then, in 1133, accompanied Innocent II., who was supported by Lothair and his army, to Italy and to Rome. When Lothair withdrew, Innocent retired to Pisa, and Bernard for awhile to his abbey of Clairvaux. It was not until after the death of Anacletus, the antipope, in January, 1138, and the resignation of his successor, the cardinal-priest Gregory, Victor II., that Innocent II., who had returned to Rome with Bernard, was universally acknowledged Pope, a result to which no one had so greatly contributed as the Abbot of Clairvaux. The influence of the latter now became paramount in the Church, as was proved at the Lateran Council of 1139, the largest council ever collected together, where the decrees in every line displayed the work of his master-hand. After having devoted four years to the service of the Pope, Bernard, early in 1135, returned to Clairvaux. In 1137 he was again at Rome, impetuous and determined as ever, denouncing the election of a Cluniac instead of a Clairvaux monk to the see of Langres in France, and in high controversy in consequence with Peter, the gentle Abbot of Cluny, and the Archbishop of Lyons. The question was settled by the deposition by the Pope of the Cluniac and the elevation of a Clairvaux monk (Godfrey, a kinsman of St. Bernard) into his place. In 1143, Bernard raised an almost similar question as to the election of St. William to the see of York, which was settled much after the same fashion, the deposition, after a time, if only for a time, of William, and the intrusion of another Clairvaux monk, Henry Murdac, or Murduch, into the archiepiccopal see. Meantime between these two dates—in 1140—the condemnation of Peter Abilaid and his tenets, in which matter Bernard appeared personally as prosecutor, took place at a council held at Sens. Abelard, condemned at Sens, appealed to Rome, and, resting awhile on his way thither, at Cluny, where Peter still presided as Abbot, died there in 1142. St. Bernard was next called upon to exercise his unrivalled powers of persuasion in a very different cause. Controversy over, he preached a crusade. The summer of 1146 was spent by him in traversing France to rouse the people to engage in the second crusade; the autumn with a like object in Germany. In both countries the effect of his appearance and eloquence was marvellous, almost miraculous. The population seemed to rise en masse, and take up the cross. In 1147 the expedition started, a vast horde, of which probably not a tenth ever reached Palestine. It proved a complete failure, and a miserable remnant shared the flight of their leaders, the Emperor Conrad, and Louis, King of France, and returned home, defeated and disgraced. The blame was thrown upon Bernard, and his apology for his part in the matter is extant. He was not, however, for long to bear up against reproach; he died in the 63rd year of his age, in 1153, weary of the world and glad to be at rest. With the works of St. Bernard, the best ed. of which was pub. by Mabillon at Paris in the early part of the 18th cent. (1719), we are not concerned here, except as regards his contributions, few and far between as they are, to the stores of Latin hymnology. There has been so much doubt thrown upon the authorship of the hymns which usually go by his name,—notably by his editor, Mabillon himself,—that it is impossible to claim any of them as having been certainly written by him; but Archbishop Trench, than whom we have no greater modern authority on such a point, is satisfied that the attribution of them all, except the "Cur mundus militat," to St. Bernard is correct. "If he did not write," the Archbishop says, "it is not easy to guess who could have written them; and indeed they bear profoundly the stamp of his mind, being only inferior in beauty to his prose." The hymns by which St. Bernard is best known as a writer of sacred poetry are: (1.) "Jesu duicis memoria," a long poem on the " Name of Jesus"—known as the "Jubilus of St. Bernard," and among mediaeval writers as the " Rosy Hymn." It is, perhaps, the best specimen of what Neale describes as the "subjective loveliness " of its author's compositions. (2.) "Salve mundi Salutore," an address to the various limbs of Christ on the cross. It consists of 350 lines, 50 lines being addressed to each. (3.) "Laetabundus, exultet fidelis chorus: Alleluia." This sequence was in use all over Europe. (4.) "Cum sit omnis homo foenum." (5.) " Ut jucundas cervus undas." A poem of 68 lines, and well known, is claimed for St. Bernard by Hommey in his Supplementum Patrum, Paris, 1686, p. 165, but on what Archbishop Trench, who quotes it at length, (Sac. Lat. Poetry, p. 242,) deems " grounds entirely insufficient." (6.) " Eheu, Eheu, mundi vita," or " Heu, Heu, mala mundi vita." A poem of nearly 400 lines, is sometimes claimed for St. Bernard, but according to Trench, “on no authority whatever." (7.) “O miranda vanitas." This is included in Mabillon's ed. of St. Bernard's Works. It is also attributed to him by Rambach, vol. i. p. 279. Many other hymns and sequences are attributed to St. Bernard. Trench speaks of a " general ascription to him of any poems of merit belonging to that period whereof the authorship was uncertain." Hymns, translated from, or founded on, St. Bernard's, will be found in almost every hymnal of the day, details of which, together with many others not in common use, will be found under the foregoing Latin first lines. -John Julian, Dictionary of Hymnology (1907) See also in: Hymn Writers of the Church

Sarah Flower Adams

1805 - 1848 Person Name: Sarah F. Adams Hymnal Number: d63 Author of "Nearer, my God, to thee, nearer to thee" in Manual of Hymns for Congregational Singing, Prayers and Pious Practices Adams, Sarah, nee Flower. born at Harlow, Essex, Feb. 22nd, 1805; died in London, Aug. 14, 1848, and was buried at Harlow, Aug. 21,1848. She was the younger daughter of Mr. Benjamin Flower, editor and proprietor, of The Cambridge Intelligencer; and was married, in 1834, to William B. Adams, a civil engineer. In 1841 she published Vivia Perpetua, a dramatic poem dealing with the conflict of heathenism and Christianity, in which Vivia Perpetua suffered martyrdom; and in 1845, The Flock at the Fountain; a catechism and hymns for children. As a member of the congregation of the Rev. W. J. Fox, an Unitarian minister in London, she contributed 13 hymns to the Hymns and Anthems, published by C. Fox, Lond., in 1841, for use in his chapel. Of these hymns the most widely known are— "Nearer,my God,to Thee," and "He sendeth sun, He sendeth shower." The remaining eleven, most of which have come into common use, more especially in America, are:— Creator Spirit! Thou the first. Holy Spirit. Darkness shrouded Calvary. Good Friday. Gently fall the dews of eve. Evening. Go, and watch the Autumn leaves. Autumn. O hallowed memories of the past. Memories. O human heart! thou hast a song. Praise. O I would sing a song of praise. Praise. O Love! thou makest all things even. Love. Part in Peace! is day before us? Close of Service. Sing to the Lord! for His mercies are sure. Praise. The mourners came at break of day. Easter. Mrs. Adams also contributed to Novello's musical edition of Songs for the Months, n. d. Nearly all of the above hymns are found in the Unitarian collections of Great Britain, and America. In Martineau's Hymns of Praise & Prayer, 1873, No. 389, there is a rendering by her from Fenelon: —" Living or dying, Lord, I would be Thine." It appeared in the Hymns and Anthems, 1841. -John Julian, Dictionary of Hymnology (1907)

Paul Gerhardt

1607 - 1676 Hymnal Number: d77 Author of "O Sacred Head now [once] [sore] wounded [surrounded]" in Manual of Hymns for Congregational Singing, Prayers and Pious Practices Paul Gerhardt (b. Gräfenheinichen, Saxony, Germany, 1607; d. Lubben, Germany, 1676), famous author of Lutheran evangelical hymns, studied theology and hymnody at the University of Wittenberg and then was a tutor in Berlin, where he became friends with Johann Crüger. He served the Lutheran parish of Mittenwalde near Berlin (1651-1657) and the great St. Nicholas' Church in Berlin (1657-1666). Friederich William, the Calvinist elector, had issued an edict that forbade the various Protestant groups to fight each other. Although Gerhardt did not want strife between the churches, he refused to comply with the edict because he thought it opposed the Lutheran "Formula of Concord," which condemned some Calvinist doctrines. Consequently, he was released from his position in Berlin in 1666. With the support of friends he became archdeacon at Lubben in 1669 and remained there until his death. Gerhardt experienced much suffering in his life; he and his parishioners lived in the era of the Thirty Years' War, and his family experienced incredible tragedy: four of his five children died young, and his wife died after a prolonged illness. In the history of hymnody Gerhardt is considered a transitional figure-he wrote at a time when hymns were changing from a more objective, confessional, and corporate focus to a pietistic, devotional, and personal one. Like other German hymns, Gerhardt's were lengthy and intended for use throughout a service, a group of stanzas at a time. More than 130 of his hymns were published in various editions of Cruger's Praxis Pietatis Melica, the Crüger-Runge Gesangbuch (1653), and Ebeling's Das andere Dutzeud geistliche Andachtslieder Herrn Paul Gerhardts (1666-1667). John Wesley and Catherine Winkworth both made famous English translations of Gerhardt's texts. Bert Polman ====================== Gerhardt, Paulus, son of Christian Gerhardt, burgomaster of Gräfenhaynichen, near Wittenberg, was born at Grafenhaynichen, Mar. 12, 1607. On January 2, 1628, he matriculated at the University of Wittenberg. In the registers of St. Mary's church, Wittenberg, his name appears as a godfather, on July 13, 1641, described still as "studiosus," and he seems to have remained in Wittenberg till at least the end of April, 1642. He appears to have gone to Berlin in 1642 or 1643, and was there for some time (certainly after 1648) a tutor in the house of the advocate Andreas Barthold, whose daughter (Anna Maria, b. May 19, 1622, d. March 5, 1668) became his wife in 1655. During this period he seems to have frequently preached in Berlin. He was appointed in 1651, at the recommendation of the Berlin clergy, Lutheran Probst (chief pastor) at Mittenwalde, near Berlin, and ordained to this post Nov. 18, 1651. In July, 1657, he returned to Berlin as third diaconus of St. Nicholas's church; but becoming involved in the contest between the Elector Friedrich Wilhelm (who was of the Reformed Church) and the Lutheran clergy of Berlin, he was deposed from his office in February, 1666, though he still remained in Berlin. In Nov. 1668, he accepted the post of archidiaconus at Lübben, on the Spree, was installed in June, 1669, and remained there till his death on June 7, 1676 (Koch, iii. 297-326; Allgemeine Deutsche Biographie, viii. 774-783, &c). The outward circumstances of Gerhardt's life were for the most part gloomy. His earlier years were spent amid the horrors of the Thirty Years' War. He did not obtain a settled position in life till he was 44 years of age. He was unable to marry till four years later; and his wife, after a long illness, died during the time that he was without office in Berlin; while of the five children of the marriage only one passed the period of childhood. The sunniest period of his life was during the early years of his Berlin ministry (i.e. 1657-1663), when he enjoyed universal love and esteem; while his latter years at Lübben as a widower with one surviving child were passed among a rough and unsympathising people. The motto on his portrait at Lübben not unjustly styles him "Theologus in cribro Satanae versatus." Gerhardt ranks, next to Luther, as the most gifted and popular hymnwriter of the Lutheran Church. Gervinus (ed. 1842, pt. iii. p. 366), the well-known historian of German literature, thus characterises him:— "He went back to Luther's most genuine type of hymn in such manner as no one else had done, only so far modified as the requirements of his time demanded. In Luther's time the belief in Free Grace and the work of the Atonement, in Redemption and the bursting of the gates of Hell was the inspiration of his joyful confidence; with Gerhardt it is the belief in the Love of God. With Luther the old wrathful God of the Romanists assumed the heavenly aspect of grace and mercy; with Gerhardt the merciful Righteous One is a gentle loving Man. Like the old poets of the people he is sincerely and unconstrainedly pious, naive, and hearty; the bliss fulness of his faith makes him benign and amiable; in his way of writing he is as attractive, simple, and pleasing as in his way of thinking." With a firm grasp of the objective realities of the Christian Faith, and a loyal adherence to the doctrinal standpoint of the Lutheran Church, Gerhardt is yet genuinely human; he takes a fresh, healthful view both of nature and of mankind. In his hymns we see the transition to the modern subjective tone of religious poetry. Sixteen of his hymns begin with, “I." Yet with Gerhardt it is not so much the individual soul that lays bare its sometimes morbid moods, as it is the representative member of the Church speaking out the thoughts and feelings he shares with his fellow members; while in style Gerhardt is simple and graceful, with a considerable variety of verse form at his command, and often of bell-like purity in tone. From the first publication of Gerhardt's hymns they at once came into favour among all ranks and creeds; and a large proportion are among the hymns most cherished and most widely used by German-speaking Christians at the present day. They appeared principally in the various editions of Crüger's Praxis, and the Crüger-Runge Gesang-Buch, 1653. The first collected edition was prepared by J. G. Ebeling, and published in separate "Dozens" 1-4 in 1666, 5-10 in 1667, i.e. 120 in all. In the edition of J. H. Feustking, Zerbst, 1707, a few stanzas were intercalated (from manuscripts in the possession of Gerhardt's surviving son), but no new hymns were added. Among modern editions of Gerhardt's hymns (mostly following the text of Ebeling) may be mentioned those by Langbecker, 1842; Schultz, 1842; Wackernagel, 1843; Becker, 1851; Goedeke, 1877, and Gerok, 1878. The Historico-Critical edition of Dr. J. F. Bachmann, 1866, is the most complete (with 11 additional pieces hardly Church hymns), and reverts to the pre-Ebeling text. The length of many of Gerhardt's hymns ("Ein Lämmlein" is 10 stanzas of 10 lines; "Fröhlich soil," 15 stanzas of 8 lines, &c), and the somewhat intricate metres of others, have caused his hymns to be less used in English than otherwise might have been the case; but a considerable proportion have come in some form or other into English hymnbooks. A large selection, translated with scrupulous faithfulness but not retaining much of the lyric grace of the originals, was published by the Rev. John Kelly, in 1867, as Paul Gerhardt’s Spiritual Songs; while many individual hymns have been translated by John Wesley, Miss Winkworth, Miss Cox, Miss Borthwick, and many others. His translations from St. Bernard are noted under "O Haupt voll Blut." There are separate notes on 19 of his greater hymns. Besides these the following have passed into English:— I. Hymns in English common use: i. Auf den Nebel folgt die Sonn. Thanksgiving after great sorrow and affliction. In Crüger's Praxis, 1656, No. 249, in 15 stanzas of 7 1.; thence in Wackernagel’s ed. of his Geistliche Lieder, No. 87, and Bachmann's ed., No. 64. In the Unverfälschter Liedersegen, 1851, No. 402. Translated as:— Cometh sunshine after rain. A good translation, omitting stanzas iv.-vii., x., xi., by Miss Winkworth, in her Lyra Germanica, 1st Ser., 1855, p. 100 (translations of x., xi. added to 2nd ed., 1856). Repeated, omitting the translations of stanzas ii., x.-xii., as No. 4 in her Chorale Book for England, 1863. In the Christian Hymn Book, Cincinnati, 1865, No. 799, begins with st. xiii., "Now as long as here I roam." Another translation is:—"After clouds we see the sun," by J. Kelly, 1867, p. 261. ii. Die Zeit ist nunmehr nah. Day of Judgment—Second Advent. Founded on Acts iii. 20. In the Crüger-Runge Gesang-Buch 1653, No. 367, iii 18 stanzas of 6 lines, and thence in Wackernagel's edition of his Geistliche Lieder, 1843, No. 119 (1874, No. 124), and Bachmann's edition, No. 40. In the Berlin Geistliche Lieder S., ed. 1863, No. 1517. Translated as:— O Christ! how good and fair. Being a translation of stanzas iii., iv., vi., vii., x.-xiii., xvii., by Mrs. Charles, in her Voice of Christian Life in Song, 1858, p. 242. Her translations of stanzas iii., x., xii., are No. 150 in G. S. Jellicoe's Collection, 1867. Other trs. are:—(1) "May I when time is o'er," of stanzas vii., viii. as part of No. 831 in the Moravian Hymn Book, 1789; in the 1801 and later eds. (1886, No. 1229), beginning, "I shall, when time is o'er." (2) “The time is very near," by J. Kelly, 1867, p. 341. iii. Gottlob, nun ist erschollen. Peace. Thanksgiving for the Proclamation of the Peace of Westphalia, in 1648, after the Thirty Years’ War. In Crüger's Praxis 1656, No. 409, in 6 stanzas of 12 lines, and thence in Wackernagel's edition of his Geistliche Lieder, No. 64, and Bachmann's ed., No. 84; and in the Unverfälschter Liedersegen, 1851, No. 589. Translated as: — Thank God it hath resounded. A full and good tr. by Miss Winkworth, in her Lyra Germanica, 2nd Ser., 1858, p. 156, repeated, omitting stanza ii., in her Chorale Book for England, 1863. St. i., v., vi., form No. 49 in M. W. Stryker's Christian Chorals, 1885. Another tr. is: ”Praise God! for forth hath sounded," by J. Kelly, 1867, p. 251. iv. Ich, der ich oft in tiefes Leid. Ps. cxlv. First published in J. G. Ebeling's edition of his Geistliche Andachten Dritte Dutzet, 1666, No. 27, in 18 stanzas of 7 lines. Thence in Wackernagel's ed., No. 95, and Bachmann's ed., No. 103; also in the Berlin Geistliche LiederSchatz, ed. 1863, No. 1004. Translated as:— I who so oft in deep distress . A good translation, omitting stanzas ii.-iv., by Miss Winkworth, in her Lyra Germanica, 2nd Ser., 1858, p. 149. Her translations of stanzas i., xiii.-xvi., xviii., were included as No. 224, and of stanzas vi., viii., ix., xi. altered, and beginning, "O God! how many thankful songs," as No. 168, in Holy Song, 1869. Another tr. is:—-"Who is so full of tenderness," of stanza viii. as stanza iv. of No. 1075 in the Supplement of 1808 to the Moravian Hymn Book, 1801 (1886, No. 537). v. Ich steh an deiner Krippen bier. Christmas. Included in Crüger's Praxis, 1656, No. 105, in 15 stanzas of 7 lines. Thence in Wackernagel's ed., No. 9, and Bachmann's ed., No. 45; and in the Berlin Geistliche LiederSchatz, ed. 1863, No. 167. A beautiful hymn, in which the poet puts himself in the place of the shepherds and the wise men visiting Bethlehem; and in praise and adoration tenders his devotion, his love and his all, to the Infant Saviour in the manger. Translated as:— My faith Thy lowly bed beholds. A translation of stanzas i., iv., vii., xv., by A. T. Russell, as No. 57 in his Psalms & Hymns, 1851. Other trs. are:— (1) "I stand beside Thy manger-bed," by Miss Manington, 1864, p. 38. (2) "Now at the manger here I stand," by J. Kelly, 1867, p. 32. vi. Ich weiss dass mein Erlöser lebt. Easter. Founded on Job xix. 25-27. First published in J. G. Ebeling's ed. of his Geistliche Andachten Zehende Dutzet, 1667, No. 119, in 9 stanzas of 7 lines; repeated in Wackernagel's ed., 1843, No. 118 (1874, No. 123); in Bachmann's ed., No. 119; and in the Berlin Geistliche Lieder S. ed. 1863, No. 301. Translated as:— I know that my Redeemer lives, In this my faith is fast. A full and spirited translation by J. Oxenford, in Lays of the Sanctuary, 1859, p. 122. His translations of stanzas i., iii., vii.-ix., were included, altered, as No. 779 in Kennedy, 1863. Another tr. is:— "I know that my Redeemer lives, This hope," &c, by Miss Manington, 1863, p. 78. vii. Ich weiss, mein Gott, dass all mein Thun. Supplication. A prayer for success in all Christian works and purpose; founded on Jeremiah x. 23, and Acts v. 38, 39. Included in Crüger's Praxis, 1656, No. 332, in 18 stanzas of 5 lines. In Wackernagel's ed., No. 40; Bachmann's ed., No. 71, and the Berlin Geistliche Lieder S., ed. 1863. Translated as:— I know, my God, and I rejoice. A good translation of stanzas i.-iii., viii., xi., ix., by Miss Winkworth, as No. 121 in her Chorale Book for England, 1863. Another translation is:— "My God! my works and all I do” by J. Kelly, 1867, p. 102. viii. Kommt, und lasst uns Christum ehren. Christmas. Founded on St. Luke ii. 15. First published in J. G. Ebeling's ed. of his Geistliche Andachten Fünffte Dutzet, 1667, No. 56, in 8 stanzas of 4 lines. Thence in Wackemagel's ed., No. 6; Bachmann's ed., No. 110; and the Unverfälschter Liedersegen, 1851, No. 43. Translated as:— 1. Come, unite in praise and singing. Omitting stanzas vi., vii., contributed by A. T. Russell to Maurice's Choral Hymnbook, 1861, No. 707. 2. Bring to Christ your best oblation. A full and good translation by P. Massie in his Lyra Domestica, 1864, p. 96; repeated in Snepp's Songs of Grace & Glory and Reid's Praise Book, 1872. Other translations are:— (1) "Come, and let us Christ revere now," by Miss Manington, 1864, p. 25. (2) "Come, and Christ the Lord be praising," by J. Kelly, 1867, p. 24. ix. Lobet den Herren, alle die ihn fürchten. Morning. Included in the Crüger-Runge Gesang-Buch 1653, No. 7, in 10 stanzas of 5 lines. In Wackernagel's ed., No. 100, and Bachmann's ed., No. 21, and in the Berlin Geistliche Lieder S. edition 1863, No. 1063. Translated as:— Praise God! revere Him! all ye men that fear Him! This is from the version in Bunsen's Allgemeine Gesangbücher, 1846, No. 167, stanza i. being from Gerhardt, and st. ii., iii., from "Lobet den Herren, denn er ist sehr freundlich" (q. v.); and appeared in the Dalston Hospital Hymnbook, 1848, No. 55, signed "A. G." Other translations are:— (1) "Our Lord be praising, All His glory raising," by H. J. Buckoll, 1842, p. 27. (2) "Praise ye Jehovah, all ye men who fear Him," by J. Kelly, 1867, p. 279. x. Micht so traurig, nicht so sehr. Christian Contentment. In the 3rd edition, 1648, of Crüger's Praxis, No. 251, in 15 stanzas of 6 1., repeated in Wackernagel's ed., No. 53; Bachmann's ed., No. 16, and the Berlin Geistliche Lieder S., ed. 1863, No. 851. It is founded on Ps. cxvi. 7; Ps. xlii. 6-12; 1 Tim. vi. 6. Translated as:— Ah! grieve not so, nor so lament. A free translation by Mrs. Findlater, of stanzas i., ii., vii.-x., xiii., xv., in the 1st Ser., 1854, of the Hymns from the Land of Luther, p. 48 (1884, p. 50). Repeated, abridged, in Holy Song, 1869, and Dale's English Hymnbook, 1875. Other translations are:- (l) "Why this sad and mournful guise," by Miss Dunn, 1857, p. 85. (2) "Not so darkly, not so deep," by Miss Warner, 1858 (1861, p. 58). (3) “0 my soul, why dost thou grieve," by J. Kelly, 1867. xi. Nun lasst uns gehn und treten. New Year. Included in the Crüger-Runge Gesang-Buch, 1653, No. 106, in 15 st. of 4 1. Thence in Wackernagel's ed., No. 12; Bachmann's ed., No. 24, and the Berlin Geistliche Lieder S., ed. 1863, No. 200. Evidently written during the Thirty Years' War. Translated as:— In pray'r your voices raise ye. In full, by J. Kelly, 1867, p. 45. From this, 8 st. are included as No. 48 in the Ohio Lutheran Hymnal, 1880. Other translations are:— (1) "Now let each humble Creature," in the Supplement to German Psalter, ed. 1765, p. 4, and Select Hymns from German Psalter, Tranquebar, 1754. p. 7. In the Moravian Hymnbook, 1789, No. 507 (1849, No. 1106), greatly altered, and beginning, “Year after year commenceth." (2) "0 come with prayer and singing," by R. Massie in the British Herald , Jan., 1865, p. 8. (3) “Christians all, with one accord," by E. Massie, 1867, p. 168. (4) "With notes of joy and songs of praise," by Dr. R. Maguire, 1883, p. 24. xii. Schaut! Schaut! was ist für Wunder dar? Christmas. First published in J. G. Ebeling's ed. of his Geistliche Andachten Fünffte Dutzet, 1667, No. 55, in 18 stanzas of 4 1. Thence in Wackernagel’s ed., No. 4; Bachmann's ed., No. 109. Translated as:— Behold! Behold! what wonders here. In full, by J. Kelly, 1867, p. 14. From this, 12 st. were included in the Ohio Lutheran Hymnal, 1880, as Nos. 25, 26: No. 26 beginning with the translation of st. xiii., "It is a time of joy today." xiii. Warum willt du draussen stehen. Advent. Suggested by Gen. xxiv. 31. Appeared in the Crüger-Runge Gesang-Buch, 1653, No. 78, in 9 stanzas of 8 lines; viz., stanzas i.—vii., xi., xii., of the full form; st. viii.-x. being added in Ebeling's Geistliche Andachten Fünffte Dutzet, 1667, No. 50. The full text, in 12 stanzas, is also in Wackernagel's ed., No. 2; Bachmann's ed., No. 23, and Geistliche Lieder S., 1851, No. 20. Translated as:— Wherefore dost Thou longer tarry. A good translation, omitting st. viii.-x., by Miss Winkworth, in her Lyrica Germanica, 2nd Ser., 1858, p. 6. In her Chorale Book for England, 1863, No. 153, the translations of st. iii., v., xi., are omitted. Other trs. are:- (l) “Wherefore dost Thou, blest of God," by R. Massie, in Lyra Domestica, 1864, p. 90. (2) “Why, without, then, art Thou staying," by J. Kelly, 1867, p. 5. xiv. Was alle Weisheit in der Welt. Trinity Sunday. In Crüger's Praxis, 1656, No. 212, in 8 stanzas of 9 lines. Thence in Wackernagel's ed., No. 1, and Bachmann's ed., No, 59, and the Berlin Geistliche Lieder S., ed. 1863, No. 50. Translated as:— Scarce tongue can speak, ne'er human ken. In full, by J. Kelly, 1867, p. 1, repeated as No. 111 in the Ohio Lutheran Hymnal, 1880. Another translation is:—"The mystery hidden from the eyes," by R. Massie, in Lyra Domestica, 1864, p. 87. xv. Was Gott gefällt, mein frommes Kind. Resignation. This beautiful hymn, on resignation to “what pleases God," first appeared in the Crüger-Runge Gesang-Buch, 1653, No. 290, in 20 stanzas of 5 lines. Thence in Wackernagel's ed., No. 60; Bachmann's ed., No. 37, and the Unverfälschter Liedersegen, 1851, No. 723. Translated as:—- What God decrees, child of His love. A good translation of stanzas i., ii., v., vi., viii., xii., xv., xviii., xx., by Mrs. Findlater, in the 3rd Ser., 1858, of the Hymns from the Land of Luther, p. 49 (1884, p. 170). Included, in full, in Bishop Ryle's Collection, 1860, No. 171; and abridged in Christian Hymns, Adelaide, 1872, and beginning, "What God decrees, take patiently," in Kennedy, 1863, No. 1344. Other translations are:— (1) "What pleaseth God with joy receive," by Miss Dunn, 1857, p. 94. (2) “What pleases God, 0 pious soul," by Miss Winkworth, 1858, p. 193, (3) ”What pleaseth God, my faithful child," by J. Kelly, 1867, p. 189. xvi. Wie schőn ists doch, Herr Jesu Christ. For Married Persons. Founded on Ps. cxxviii. First published in Ebeling's ed. of his Geistliche Andachten Vierte Dutzet, 1666, No. 38, in 8 st. of 12 1. Thence in Wackernagel's ed., 1843, No. 108 (1874, No. 109); Bachmann's ed., No. 105, and the Unverfälschter Liedersegen S., 1851, No. 680. Translated as:— Oh, Jesus Christ! how bright and fair. In full, by J. Kelly, 1867, p. 307, repeated, altered, and omitting st. iii.—v., in the Ohio Lutheran Hymnal, 1880, No. 339. II. Hymns not in English common use: xvii. Also hat Gott die Welt geliebt. Good Friday. On St. John iii. 16. In Crüger's Praxis, 1661, No. 372, in 17 stanzas. Translated as, "Be of good cheer in all your wants,” by P. H. Molther, of stanza 16, as No. 181 in the Moravian Hymnbook, 1789 (1886, No. 217). xviii. Auf, auf, mein Herz mit Freuden. Easter. In Crüger's Praxis, 1648, No. 141, in 9 stanzas. The translations are:-- (1) "Up! Up! my heart with gladness, See," by J. Kelly, 1867, p. 71. (2) "Up, up, my heart, with gladness; Receive," by N. L. Frothingham, 1870, p. 228. xix. Du bist zwar mein und bleibest mein. For the Bereaved. A beautiful hymn of consolation for parents on the loss of a son. Written on the death of Constantin Andreas, younger son of Johannes Berkov, pastor of St. Mary's Church, Berlin, and first printed as one of the "Dulcia amicorum solatia" at the end of the funeral sermon by Georg Lilius, Berlin, 1650. Included in Ebeline's ed. of Gerhardt's Geistliche Andachten Sechste Dutzet, Berlin, 1667, No. 72, in 12 stanzas. The translations are: (1) "Thou'rt mine, yes, still thou art mine own”, by Miss Winkworth, 1858, p. 123. (2) "Yes, thou art mine, still mine, my son," by J. D. Burns, in the Family Treasury, 1861, p. 8, and his Remains, 1869, p. 249. (3) "Mine art thou still, and mine shalt be," by J. Kelly, 1867, p. 333. (4) "Thou art mine own, art still mine own," by Dr. J. Guthrie, 1869, p. 100. xx. Du, meine Seele, singe. Ps. cxlvi. In the Crüger-Runge Gesang-Buch, Berlin, 1653, No. 183, in 10 stanzas. Translated as, “O come, my soul, with singing," by Miss Burlingham, in the British Herald, Jannary, 1866, p. 207, and as No. 423 in Reid's Praise Book, 1872. xxi. Gieb dich zufrieden, und sei stille. Cross and Consolation—-Ps. xxxvii. 7. In Ebeling Erstes Dutzet, 1666, No. 11, in 15 stanzas. Translated as: (1) “Be thou content: be still before," by Miss Winkworth, 1855, p. 156, and in Bishop Ryle's Collection, 1860, No. 269. (2) “Be thou contented! aye relying," by J. Kelly, 1867, p. 202. (3) “Tranquilly lead thee, peace possessing," by N. L. Frothingham, 1870, p. 246. xxii. Hőr an! mein Herz, die sieben Wort. Passiontide. On the Seven Words from the Cross. Founded on the hymn noted under Bőschenstein, J. (q.v.). In Crüger's Praxis, 1656, No. 137, in 15 stanzas. Translated as: (1) “Come now, my soul, thy thoughts engage," by Dr. H. Mills, 1845 (1856, p. 309). (2) "Seven times the Saviour spake my heart," by R. Massie, in the British Herald, Sept., 1865, p. 133. (3) "My heart! the seven words hear now," by J. Kelly, 1867, p. 63. xxiii. Ich hab in Gottes Herz und Sinn. Resignation. In Crüger's Praxis, 1648, No. 249, in 12 st. Translated as: (1) "I into God's own heart and mind," by J. Kelly, 1867, p. 219. (2) "To God's all-gracious heart and mind”, by Miss Winkworth, 1869, p. 213, repeated in Statham's Collection, Edinburgh, 1869 and 1870. xxiv. 0 Jesu Christ! dein Kripplein ist. Christmas. At the Manger of Bethlehem. In Crüger's Praxis, 1656, No. 101, in 15 stanzas. Translated as: (1) Be not dismay'd—-in time of need" (st. xi.) in the Moravian Hymnbook, 1789, No. 236. (2) "O blessed Jesus! This," by Miss Winkworth, 1858, p, 18. (3) "O Jesus Christ! Thy cradle is," by Miss Manington, 1864, p. 41. (4) "Thy manger is my paradise," by J. Kelly, 1867, p. 26. xxv. Voller Wunder, voller Kunst. Holy Matrimony. In Ebeling Vierte Dutzet, 1666, No. 40, in 17 st. Often used in Germany at marriages on the way to church. Translated as: (1) "Full of wonder, full of skill," by Dr. H. Mills, 1845 (1856, p. 215). (2) "Full of wonder, full of skill," in Mrs. Stanley Carr's translation of Wildenhahn's Paul Gerhardt, ed. 1856, p. 52. (3) "Full of wonder, full of art," by J. Kelly, 1867, p. 302. (4) "Full of wonder, full of art," by Miss Winkworth, 1869, p. 215. xxvi. Warum machet solche Schmerzen. New Year. On St. Luke ii. 21. In Crüger's Praxis, 1648, No. 97, in 4 stanzas. Bunsen, in his Versuch, 1833, No. 120, gives st. iii., iv. altered to "Freut euch, Sünder, allerwegen." Tr. as: (1) "Mortals, who have God offended," by Miss Cox, 1841, p. 21, from Bunsen. (2) "Why should they such pain e'er give Thee," by J. Kelly, 1867, p. 43. xxvii. Weg, mein Herz, mit den Gedanken. Lent. On St. Luke xv. In Crüger's Praxis, 1648, No. 36, in 12 stanzas. Translated as: (1) "Let not such a thought e'er pain thee," by J. Kelly, 1867, p. 83. (2) "Hence, my heart, with such a thought," by Miss Winkworth, 1869, p. 210. Besides the above, a considerable number of other hymns by Gerhardt have been translated by Mr. Kelly, and a few by Dr. Mills, Miss Manington, and others. The limits of our space forbid detailed notes on these versions. [Rev. James Mearns, M.A.] -- John Julian, Dictionary of Hymnology (1907) ============================= Gerhardt, Paulus, pp. 409, ii., 1565, i. The most recent edition of Gerhardt's hymns is in vol. iii. of the Fischer-Tümpel Deutsche evangelische Kirchenlied des Siebzehnten Jahr-hunderts, 1906, Nos. 389-495. In fixing the text the compilers have been enabled to use the recently discovered 1647, 1653 and 1657 Berlin editions of Cruger's Praxis Pietatis Melica. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

John Francis Wade

1711 - 1786 Hymnal Number: d99 Author of "With hearts truly grateful, come" in Manual of Hymns for Congregational Singing, Prayers and Pious Practices John Francis Wade (b. England, c. 1711; d. Douay, France, 1786) is now generally recognized as both author and composer of the hymn "Adeste fideles," originally written in Latin in four stanzas. The earliest manuscript signed by Wade is dated about 1743. By the early nineteenth century, however, four additional stanzas had been added by other writers. A Roman Catholic, Wade apparently moved to France because of discrimination against Roman Catholics in eighteenth-century England—especially so after the Jacobite Rebellion of 1745. He taught music at an English college in Douay and hand copied and sold chant music for use in the chapels of wealthy families. Wade's copied manuscripts were published as Cantus Diversi pro Dominicis et Festis per annum (1751). Bert Polman

Adelaide Anne Procter

1825 - 1864 Hymnal Number: d41 Author of "Hail Mary, Hail Mary, Queen of heaven" in Manual of Hymns for Congregational Singing, Prayers and Pious Practices Not to be confused with Adelaide A. Pollard. Adelaide Anne Proctor was born in London, in 1825. Her father, Brian W. Proctor, is well known by his literary nom de guerre of Barry Cornwall. In 1853, Miss Proctor became a contributor to Dickens' "Household Words." Her reputation as a poet was secured by the publication of her first volume of "Legends and Lyrics," in 1858. A second volume was added in 1860. She also published other compositions in poetry and prose. She died in 1864. She was a member of the Roman Catholic Church. --Annotations of the Hymnal, Charles Hutchins, M.A. 1872. =============== Procter, Adelaide Anne, daughter of Bryan Waller Procter (Barry Cornwall), was born in Bedford Square, London, Oct. 30, 1825. In 1851 she entered the Roman communion, and died in London, Feb. 2, 1864. Miss Procter displayed more than usual intellectual powers at an early age. In later years she was skilled in music and languages. Her poetical gifts have been widely appreciated. Her Legends and Lyrics, A Book of Verse, was published in 1858. Of this an enlarged edition was published in 1862. Her hymns in common use from these two editions are:— 1. I do not ask, 0 Lord, that life may be. Resignation. In her Legends, &c., 1862. It is one of the most widely used of Miss Procter's hymns. 2. I thank Thee, 0 my God, Who made. Thankfulness. In her Legends, &c., 1858, p. 207, in 6 stanzas of 6 lines. In several collections, including the Hymnal Companion, it begins in an altered form, "My God, I thank Thee, Who hast made;" and in others, "Our God, we thank Thee, Who hast made." Bishop Bickersteth in his note on this hymn in the Hymnal Companion, 1816, says, "This most beautiful hymn by A. A. Procter (1858), touches the chord of thankfulness in trial, as perhaps no other hymn does, and is thus most useful for the visitation of the sick." 3. One by one the sands are going [flowing]. The links of Life. In her Legends, &c., 1858, p. 20, in 8 stanzas of 4 lines. 4. Rise, for the day is passing. Redeem the Time. In her Legends, &c., 1858. Sometimes given as "Arise, for the day is passing," as in Holy Song, 1869. 5. Strive; yet I do not promise. Strive, Wait, Pray. In her Legends, &c., 1858, p. 103, in 3 stanzas of 8 lines. 6. The way is long and dreary. Life a Pilgrimage. In her Legends, &c., 1858, p. 136, in 3 stanzas of 8 lines and a refrain. 7. The shadows of the evening hours. Evening. In her Legends, &c., 1862. 8. We ask for peace, 0 Lord. Peace with God. In her Legends, &c., 1858, p. 214, in 4 stanzas of 9 lines. --John Julian, Dictionary of Hymnology (1907)

Angelus Silesius

1624 - 1677 Person Name: Johann Scheffler Hymnal Number: d51 Author of "Jesus, Jesus, come to me" in Manual of Hymns for Congregational Singing, Prayers and Pious Practices Pen name of Johann Scheffler ======================================= Angelus Silesius, born in Selisia, in 1624, was the son of a Polish nobleman, and his true name was John Scheffler; but he adopted the name Angelus from a Spanish mystic of the 16th century--John ab Angelis--and added the name Silesius, because of his own country. He studied medicine, and obtained his degree of M.D. at Padua. While physician to the Duke Sylvius Nimrod--from 1649 to 1652--he had contention with the Lutheran clergy, and in 1653 entered the Romish Church. Subsequently he was physician to the Emperor Ferdinand III., but at length entered the priesthood and retired to the Jesuit monastery of S. Matthias, in Breslau, where he died in 1677. His hymns were mostly written before he joined the Romish Church, and were intended for private devotion; some, however, have been very acceptable for public use. "Several of them are among the deepest and most tender in the German language, and breathe a glowing love to the Saviour." --Annotations of the Hymnal, Charles Hutchins, M.A. 1872. ================================================= Scheffler, Johann (Angelus Silesius), was born in 1624 at Breslau in Silesia. His father, Stanislaus Scheffler, was a member of the Polish nobility, but had been forced to leave his fatherland on account of his adherence to Lutheranism, and had then settled in Breslau. The son was thus educated as a strict Lutheran. After passing through the St. Elisabeth's Gymnasium at Breslau, he matriculated at the University of Strassburg, on May 4, 1643, as a student of medicine. In the next year he went to Leyden, and in 1647 to Padua, where he graduated PH. D. and M.D. on July 9, 1648. Thereafter he returned to Silesia, and, on Nov. 3, 1649, was appointed private physician, at Oels, to Duke Sylvius Nimrod of Württemberg-Oels. The Duke was a staunch Lutheran, and his court preacher, Christoph Freitag, administered the ecclesiastical affairs of the district according to the strictest Lutheran churchly orthodoxy. Scheffler, who in Hollaud had become acquainted with the writings of Jakob Böhme, and had become a personal friend of Abraham von Frankenberg, the editor of Böhme's works, soon found that the spiritual atmosphere of Oels did not suit him. His own leanings at this time were distinctly to Mysticism and Separatism. He was at no pains to conceal his sentiments, and withdrew himself from public worship, from confession, and from the Holy Communion. When he wished to publish his poems, and submitted them for this purpose to Freitag, he was refused permission to print them on the ground of their mystical tendencies. He resigned his post in the end of 1652, and went to Breslau. Here he became acquainted with the Jesuits, who in that place were earnest students of the mystical works of Tauler (q.v.), and through them was introduced to the study of the mediaeval mystics of the Roman Catholic Church. On June 12, 1653, he was formally received into the Roman Catholic communion, and at his confirmation on that day at St. Matthias's Church in Breslau, he took the name of Angelus, probably after a Spanish mystic of the 16th cent, named John ab Angelis.* On March 24, 1654, the Emperor Ferdinand III. conferred on him the title of Imperial Court Physician, but this title was purely honorary, and Scheffler remained still at Breslau. On Feb. 27,1661, he entered the order of St. Francis; on May 21, 1661, was ordained priest at Neisse in Silesia, and in 1664 was appointed Rath and Hofmarschall to his friend Sebastian von Rostock, the newly created Prince Bishop of Breslau. After the Bishop's death in 1671 Scheffler retired to the monastery of St. Matthias in Breslau, where he died July 9, 1677, from a wasting sickness, during which he used this characteristic prayer, "Jesus and Christ, God and Man, Bridegroom and Brother, Peace and Joy, Sweetness and Pleasure, Refuge and Redemption, Heaven and Earth, Eternity and Time, Love and All, receive my soul." Of Scheffler, as a Convert and as a Controversialist, not much need be said. He certainly became more Roman than the Romans; and in his more than 50 controversial tractates, shows little of the sweetness and repose for which some have thought that he left the Lutheran church. In his Ecclesiologia, published at Glatz in 1677 [British Museum has the 2nd edition, published at Oberammergau and Kempten in 1735], he collected 39 of these treatises, of which e.g. No. 34 is entitled, "The Lutheran and Calvinistic Idol of the Understanding exhibited, laid bare, as well as the Likeness of the True God. In which also, at the same time, the attacks aud objections of adversaries are repelled. 1 Cor. viii. 4, Idolum nihil est, an idol is nothing." At an early age Scheffler had begun to write poems, and some of these occasional pieces were printed in 1641 and 1642. His most famous non-hymnological work is his Geistreiche Sinn- und Schlussreime, &c, published at Vienna in 1657, but better known by the title prefixed in the 2nd edition published at Glatz in 1675, viz. the Cherubinischer Wandersmann, [Both eds. in the British Museum]…. Scheffler's latest poetical work was the Sinnliche Beschreibung der vier letzten Dinge, zu heilsamen Schröken und Auffmunterung aller Menschen inn Druck gegeben. Mit der himmlischen Procession vermehrt, &c. Schweidnitz, 1675. [British Museum]… Scheffler's most important hymnological work is his Heilige Seelenlust, oder geistliche Hirten-Lieder, der in ihren Jesum verliebten Psyche, gesungen von Johann Angelo Silesio, und von Herrn Georgio Josepho mit aussbündig schönen Melodeyen geziert, &c. Of this the first edition appeared at Breslau, apparently in 1657, in three books, with Hymns 1-123, and a fourth—-separately paged—-book, with 32 hymns, apparently also at Breslau, 1657. In the 2nd ed., pub. at Breslau in 1668, the paging and numbering are consecutive; and a fifth book is added, with Hymns 166-205. [Both eds. in Royal Library, Breslau; 2nd ed. in British Museum] The first three books form a cycle of hymns, principally on the person and work of Our Lord, arranged according to the Christian Year, from Advent to Whitsuntide, and seem mostly to have been written before Scheffler left the Lutheran church. Those of the fourth book were probably written 1653 to 1656, and those of the fifth book between 1656 and 1668. In the first three books he is most clearly under the influence of his predecessors. That is, so far as the style and form are concerned, he was greatly influenced by the Pastorals of the Nürnberg Pegnitz Shepherds, and of Friedrich von Spee (q.v.) ; and in the substance of his poems—their longings for mystical union with Christ, and their clinging love to the Saviour—he was influenced on the one side by Böhme, and on the other by the earnest inner religious life which he had found in Holland. In his later hymns the tone is more manly, and the defects and excesses of his earlier style have, in great measure, disappeared. Scheffler's hymns were gladly received by the Lutheran Church as a welcome addition to the store of "Jesus Hymns," but many long passed current as anonymous; the I. A., for Johann Angelus, being often interpreted as Incerti Autoris, and vice versa. Through the Nürnberg Gesang-Buch, 1676; Freylinghausen's Gesang-Buch 1704 and 1714; Porst's Gesang-Buch, 1713; and Burg's Gesang-Buch, Breslau, 1746, a large number came into use among the Lutherans, more indeed than among the Roman Catholics. They were great favourites among the Moravians, after Zinzendorf had included 79 of them in his Christ-Catholisches Singe-und Bet-Büchlen, 1727 ; and, unfortunately, preciscly the worst were selected for imitation, so that Scheffler has the doubtful honour of being the model of tli8 spiritual-fleshly productions which disfigured the Moravian hymn-books between 1740 and 1755. Judging Scheffler's hymns as a whole one must give them a very high place in German hymnody. Only a small proportion of the hymns bear a distinctively Roman Catholic character. Of the rest, after setting on one side those in which Christ is set forth as the Bridegroom of the soul, with an excessive use of the imagery of Canticles; and those disfigured by the mannerisms of the Pastoral School, there remain a large number which are hymns of the first rank. These finer hymns are the work of a true poet, almost perfect in style and in beauty of rhythm, concise and profound; the fruits indeed it may be said of Mysticism, but of Mysticism chastened and kept in bounds by deep reverence and by a true and fervent love to the Saviour. Scheffler holds a high place in the first rank of German sacred poets, and is much the finest of the Post-Reformation Roman Catholic hymn-writers. A number of Scheffler's hymns are translations from the Latin…which have passed into English, are as follows. i. Ach Gott, was hat vor Herrlichkeit. God's Majesty. First published as No. 110 in Bk. iii., 1657, of his Heilige Seelenlust , in 6 st. of 8 1., entitled, "She [the soul] rejoices herself on the glory of Jesus." In the Herrnhut Gesang-Buch, 1735, No. 67. The translation in common use is:— Thy Majesty, how vast it is. This is a free translation of st. i.-iv. as part of No. 189 in the Moravian Hymn Book, 1789 (1886, No. 225). Another tr. is: "My God! how vast a Glory has," as No. 310 in the Moravian Hymn Book, pt. ii., 1743. ii. Der edle Schäfer, Gottes Sohn. The Good Shepherd . Translated as:— The true good Shepherd, God's own Son. This is a translation of st. i., v., by P. H. Molther, as No. 18 in the Moravian Hymn Book, 1789. In the 1826 and later eds. (1886, No. 22) it begins, "Christ the good Shepherd.” iii. Grosser König, dem ich diene. Love to God. First published as No. 161 in Bk. v., 1668, of his Heilige Seelenlust in 10 stanzas of 8 lines, entitled, "She presents to her Beloved her heart in diverse fashion as a morning gift." The translation in common use is:— Make my heart a garden fair. This is a tr. of st. viii., as st. ii. of No. 439 in the Moravian Hymn Book, 1789. Other trs. are: (1) "Lord, I come, Thy grace adoring," by J. D. Burns, 1869, p. 227. (2) "Almighty King, Eternal Sire," by G. Moultrie, in his Espousals of S. Dorothea, 1870, p. 69. iv. Jesus ist der schönste Nam'. Love to Christ. First published as No. 35 in Bk. i., 1657, of his Heilige Seelenlust in 9 stanzas of 6 lines, entitled, "She praises the excellency of the Name of Jesus." Tr. as:— Jesus is the highest name. This is a good tr. of st. i., ii., viii., ix., by A. T. Russell, as No. 69 in his Psalms & Hymns, 185. Another tr. is: "Jesus is the sweetest Name, Unto mortals," by J. C. Earle, in O. Shipley's Annus Sanctus, 1884, pt. ii. p. 43. v. Keine Schönheit hat die Welt. Love to Christ. A beautiful hymn on Christ in Nature. First published as No. 109 in Bk. iii., 1657, of his Heilige Seelenlust, in 16 stanzas of 4 lines, entitled, "She ponders His charmingness to the creatures." The trs. in common use are :— 1. Earth has nothing sweet or fair. This is a very good translation, omitting st. vi.—viii., x., xi., by Miss Cox in her Sacred Hymns from the German, 1841, p. 165 2. Nothing fair on earth I see. This is a somewhat free tr. of st. i.-v., ix., xii.-xiv., xvi., by Miss Winkworth in her Lyra Germanica, 1st Ser., 1855, p. 48; repeated, abridged and altered, in her Chorale Book for England, 1863, No. 158. Other translations are : (l) All the beauty we can find," as No. 457, in pt. i. of the Moravian Hymn Book 1754. (2) "Would you view the glorious face," in J. A. Latrobe's Psalms & Hymns ., 1841, No. 437. (3) "Whate'er of beauty I behold," by Lady E. Fortescue, 1843, p. 35. (4) " Earth has nothing bright for me," by Miss Manington, 1863, p. 168. (5) "The world with broadcast beauties sown," by E. Massie, 1867, p. 14. vi. Morgenstern der finstern Nacht. Love to Christ. First published as No. 26 in Bk. i., 1657, of his Heilige Seelenlust, in 6 st. of 5 1., entitled, "She wishes to have the little Jesus as the true Morning Star in the heaven of her heart." Another tr. is: "Morning Star in darksome night”, by Miss Winkworth, 1869, p. 250. vii. Nun nimm mein Herz, und alles was ich bin. Self-surrender to Christ. First published as No. 102 in Bk. iii., 1657, of his Heilige Seelenlust, in 4 stanzas of 6 lines, entitled, "She gives herself to her Bridegroom." The translation in common use is:— O take my heart, and whatsoe'er is mine. This is a tr. of st. i., iv., by F. W. Foster, as No. 267 in the Moravian Hymn Book, 1789. Another tr. is: "Now take my heart and all that is in me," by Miss Winkworth, 1858, p. 98. viii. Wollt ihr den Herren finden. Seeking of Christ. First published in Bk. iv., 1657, of his Heilige Seelenlust, entitled, "She gives notice where Jesus is to be found.” Translated as:— If you would find the Saviour. This is a free version, condensing st. iii., iv., as st. iii. in the Moravian Hymn Book, 1754, pt. i., No. 657. Included, greatly altered, and beginning, "Would you find the Saviour?" in J. A. Latrobe's Psalms & Hymns, 1841 and 1852. ix. Wo willt du hin, weils Abend ist. Evening. A beautiful hymn founded on the Narrative of Christ at Emmaus. The translation in common use is:— Where wilt Thou go! since night draws near. By A. Crull, in full, as No. 93 in the Ohio Lutheran Hymnal 1880. Another translation is: "Where wilt Thou go? the eve draws nigh," by Miss Manington; 1863, p. 154. Other hymns by Scheffler which have been rendered into English are:— x. Ach, sagt mir nicht von Gold und Schätzen. Love to Christ. The translations are (1) "Tell me no more of golden treasures," in the Supplement to German Psalmody, ed. 1765, p. 53; and Select Hymns from German Psalmody , Tranquebar, 1754, p. 84. (2) "0 tell me not of glitt'ring treasure," by Dr. H. Mills, 1845, p. 75. (3) "0 tell me not of gold and treasure," by Miss Burlingham, in the British Herald, August, 1865, p. 121, repeated as "Ah, tell me not," &c, in Reid's Praise Book, 1872. xi. Ach, was steh'st du auf der Au. Love to Christ. This form is tr. as "Jesus, end of my desires." xii. ‘Auf, auf, 0 Seel', auf, auf, zum Streit. Christian Warfare. The translations are (1) "Up! Christian man, and join the fight," by Miss Manington, 1863, p. 44. (2) "Up, Christian! gird thee to the strife," by Miss Burlingham, in the British Herald, July, 1865, p. 106. xiii, Dein' eigne Liebe zwinget mich. Love to Christ. Tr. as, "Thine own love doth me constrain," by J. Kelly, in the Family Treasury, 1878, p. 716. xiv. Die Sonne kommt heran. Morning. Translated as "The sun will soon appear," by J. Kelly, in the Family Trea¬sury, 1878, p. 716. xv. Ihr Engel, die das höchste Gut. Love to Christ. This form is tr. as, "Ye Seraphim, who prostrate fall," as No. 649 in pt. i. of the Moravian Hymn Book, 1754. xvi. Jesu, ew'ge Sonne. Love to Christ. Translated as "Christ the spring of endless joys," by J. Kelly, in the Family Treasury, 1878, p. 716. xvii. Kommt, meine Freund, und höret an. Eternal Life. Tr. as: "Come hither, friends, and hear me say," by J. Kelly, in the Family Treasury , 1879, p. 271. xviii. Meine Seele willt du ruh'n. Love to God. This form is tr. as "O my soul, desir'st thou rest." In the Supplement to German Psalmody, ed. 1765, p. 56. xix. Mein Lieb ist mir und ich bin ihm. Love to Christ. This is tr. as, "My Friend's to me, and I'm to Him," as No; 467 in pt. i. of the Moravian Hymn Book, 1754. xx. 0 du allerliebster Gott. Christ in Gethsemane. This form is tr. as "Jesus, O my Lord and God," by J. C. Earle, in O. Shipley's Annus Sanctus, 1884, p. 73. xxi. Schau', Braut, wie hängt dein Bräutigam. Passiontide. Tr. as, "O Bride! behold thy Bridegroom hangs," as No. 460 in pt. i. of the Moravian Hymn Book, 1754. xxii. Tritt hin, o Seel', und dank' dem Herrn. Thanksgiving. Tr. as "Come, O my soul, with thankful voice," by Dr. G. Walker, 1860, p. 70. xxiii. Weil ich schon seh' die gold'nen Wangen. Morning. The trs. are (1) "Because I see red tints adorning," by Miss Manington, 1863, p. 119. (2) "I see the golden light of morn," in the Family Treasury, 1877, p. 603. xxiv. Wie lieblich sind die Wohnungen. Eternal Life. Translated as "How lovely are the mansions fair," by J. Kelly, in the Family Treasury, 1879, p. 270. xxv. Zeuch mich nach dir, so laufen wir. Love to Christ. Translated as "Draw us to Thee, then will we flee," as No. 137 in pt. i. of the Moravian Hymn Book, 1754. It may be added that in some English books Scheffler appears as a composer of hymn-tunes. This is however a mistake, for the melodies in the Heilige Seelenlust are, as the title distinctly says, by Georg Joseph, a musician living at that time in Breslau. [Rev. James Mearns, M.A.] * In his later writings he styled himself Johann Angelus Silesius, adding this designation—the Silesian—in order to distinguish himself from the Lutheran theologian, Johann Angelus, of Darmstadt. --Excerpts from John Julian, Dictionary of Hymnology (1907)

Alfonso M. de Liguori

1696 - 1787 Hymnal Number: d43 Author of "I dwell a captive in this heart" in Manual of Hymns for Congregational Singing, Prayers and Pious Practices Liguori, Alphonso Maria de, born at Marianella, near Naples, Sept. 27, 1696, became Bishop of St. Agatha of the Goths in 1762, and died Aug. 1, 1787. His hymns were gathered out of his works, translated by K. A. Coffin, and published as Hymns and Verses on Spiritual Subjects, &c, in 1863. (See Italian Hymnody, p. 1316, ii., 4). From this, "My Jesus! say what wretch has dare" ( Good Friday) is taken. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ================= Liguori, Alfonso Maria de, pp. 1534, ii., 1577, i. In 1892, the translations of Liguori's hymns were not noted in detail because the originals were not accessible. We have lately found the Canzoncine Spirituali . . . di Sant’ Alfonso Maria de’ Liguori, Turin, 1830, in the library of the Oratory, London, and discovered that Bp. Coffin was merely the editor of the 1863 vol. of translations All those noted below are by Father Edmund Vaughan (q.v.). In 1863, nos. 7, 16 below are ascribed to Mgr. Falcoja and Mgr. Majello, but Father Vaughan now informs us that he thinks they were probably by St. Alfonso. Some of the 1863 translations appeared previously in Hymns for the Confraternity of the Holy Family, 1854, and in Holy Family Hymns, 1860. The best-known are:— 1. Dal tuo celeste trono. [B. V. M.] 1830, p. 60. Translated as "Look down, 0 Mother Mary." 1854, No. 7; 1863, p. 37. 2. Fiori, felici voi, che notte, e giorno. [Holy Communion.] 1830, p. 38. Translations (1) "0 happy "flowers! 0 happy flowers," by F. W. Faber, in Oratory Hymns, 1854, No.19; (2) "0 flowers, O happy flowers,'" 1803, p. 20. 3. Gesu mio, con dure funi. [Passiontide.] 1830, p. 44. Translated as "My Jesus! say, what wretch has dared." 1854, No. 5; 1863, p. 17. 4. Giacche tu vuoi chiamarmi padre. [St. Joseph to the Infant Jesus.] 1830, p. 54. Translated as "Jesus! let me call Thee Son." 1854, No. 11. 1863, p. 13, is in a different metre. 5. Lodiamo cantando. [Death of B. V. M.] 1830, p. 67. Translated as "Uplift the voice and sing." 1803, p. 49. 6. Mondo, piu per me non sei. [Surrender to Jesus.] 1830, p. 3. Translated as "World, thou art no more for me." 1803, p. 66. In Hymns for the Year, 1867, it begins "Jesus, Lord, be Thou my own" (st. iii. alt.). 7. 0 bello Dio, Signor del Paradiso. [The Love of God.] 1830, p. 56. Translated as "O God of loveliness." 1863, p. 118. 8. Partendo dal mondo. [Holy Communion.] 1830, p. 34. Translated as “When the loving Shepherd." 1863, p. 27. 9. Sei pura, sei pia. [B. V. M.] 1830, p. 62. Translated as "Thou art clement, thou art chaste." 1863, p. 36. in Hymns for the Year, 1807, and others, it begins with st. ii., "O Mother blest! whom God bestows." 10. Sto prigione entro quel Core. [Sacred Heart of Jesus.] 1830, p. 52. Translated as "I dwell a captive in this Heart," 1863, p. 15. 11. Tu scendi dalle stelle, O Re del cielo. [Christmas.] 1830, p. 42. Translated as "O, King of Heaven ! from starry throne descending." 1854, No. 4; 1803, p. 12. The following are all in 1863 and in Hymns for the Year, 1867:— 12. Fly hither from the storm that rages round. For a Retreat. 13. In this sweet Sacrament, to Thee. Holy Communion. 14. Knowest thou, sweet Mary. B. V. M. 15. Let those who will for other beauties pine. The Beauty of God. 16. Mary, thy heart for love. Assum. Blessed Virgin Mary. 17. Mother Mary, Queen most sweet. B. V. M. 18. My God, O Goodness Infinite. Love of Jesus. In 1863 indexed under the chorus "Jesus, my sweetest Lord." 19. My soul, what dost thou? Answer me. Holy Communion. 20. O Bread of Heaven! beneath this veil. Holy Communion. 21. O how I love Thee, Lord of Heaven above. Christmas. 22. Raise your voices, vales and mountains. B. V. M. 23. 'Tis Thy good pleasure, not my own. The will of God. Of these, nos. 13, 17 were taken by Father Vaughan from a Neapolitan Mission Hymn Book, the rest are found in 1830, as follows: 12 at p. 32; 14, p. 63; 15, p. 9; 16, p. 70 ; 18, p. 49; 19, p. 37; 20, p. 40; 21, p. 44; 22, p. 66; 23, p. 7. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

Edward Caswall

1814 - 1878 Hymnal Number: d29 Author of "Hail, bright star of ocean, God's own mother" in Manual of Hymns for Congregational Singing, Prayers and Pious Practices Edward Caswall was born in 1814, at Yately, in Hampshire, where his father was a clergyman. In 1832, he went to Brasenose College, Oxford, and in 1836, took a second-class in classics. His humorous work, "The Art of Pluck," was published in 1835; it is still selling at Oxford, having passed through many editions. In 1838, he was ordained Deacon, and in 1839, Priest. He became perpetural Curate of Stratford-sub-Castle in 1840. In 1841, he resigned his incumbency and visited Ireland. In 1847, he joined the Church of Rome. In 1850, he was admitted into the Congregation of the Oratory at Birmingham, where he has since remained. He has published several works in prose and poetry. --Annotations of the Hymnal, Charles Hutchins, M.A. 1872 ===================== Caswall, Edward, M.A., son of the Rev. R. C. Caswall, sometime Vicar of Yately, Hampshire, born at Yately, July 15, 1814, and educated at Brasenose College, Oxford, graduating in honours in 1836. Taking Holy Orders in 1838, he became in 1840 Incumbent of Stratford-sub-Castle, near Salisbury, and resigned the same in 1847. In 1850 (Mrs. Caswall having died in 1849) he was received into the Roman Catholic communion, and joined Dr. Newman at the Oratory, Edgbaston. His life thenceforth, although void of stirring incidents, was marked by earnest devotion to his clerical duties and a loving interest in the poor, the sick, and in little children. His original poems and hymns were mostly written at the Oratory. He died at Edgbaston, Jan. 2, 1878, and was buried on Jan. 7 at Redwall, near Bromsgrove, by his leader and friend Cardinal Newman. Caswall's translations of Latin hymns from the Roman Breviary and other sources have a wider circulation in modern hymnals than those of any other translator, Dr. Neale alone excepted. This is owing to his general faithfulness to the originals, and the purity of his rhythm, the latter feature specially adapting his hymns to music, and for congregational purposes. His original compositions, although marked by considerable poetical ability, are not extensive in their use, their doctrinal teaching being against their general adoption outside the Roman communion. His hymns appeared in:— (1) Lyra Catholica, which contained 197 translations from the Roman Breviary, Missal, and other sources. First ed. London, James Burns, 1849. This was reprinted in New York in 1851, with several hymns from other sources added thereto. This edition is quoted in the indices to some American hymn-books as Lyra Cath., as in Beecher's Plymouth Collection, 1855, and others. (2) Masque of Mary, and Other Poems, having in addition to the opening poem and a few miscellaneous pieces, 53 translations, and 51 hymns. 1st ed. Lon., Burns and Lambert, 1858. (3) A May Pageant and Other Poems, including 10 original hymns. Lon., Burns and Lambert, 1865. (4) Hymns and Poems, being the three preceding volumes embodied in one, with many of the hymns rewritten or revised, together with elaborate indices. 1st ed. Lon., Burns, Oates & Co., 1873. Of his original hymns about 20 are given in the Roman Catholic Crown of Jesus Hymn Book, N.D; there are also several in the Hymns for the Year, N.D., and other Roman Catholic collections. --John Julian, Dictionary of Hymnology (1907) ====================== Caswall, E. , p. 214, ii. Additional original hymns by Caswall are in the Arundel Hymns, 1902, and other collections. The following are from the Masque of Mary, &c, 1858:— 1. Christian soul, dost thou desire. After Holy Communion. 2. Come, let me for a moment cast. Holy Communion. 3. O Jesu Christ [Lord], remember. Holy Communion. 4. Oft, my soul, thyself remind. Man's Chief End. 5. Sleep, Holy Babe. Christmas. Appeared in the Rambler, June 1850, p. 528. Sometimes given as "Sleep, Jesus, sleep." 6. The glory of summer. Autumn. 7. This is the image of the queen. B. V. M. His "See! amid the winter's snow,” p. 1037, i., was published in Easy Hymn Tunes, 1851, p. 36. In addition the following, mainly altered texts or centos of his translations are also in common use:— 1. A regal throne, for Christ's dear sake. From "Riches and regal throne," p. 870, ii. 2. Come, Holy Ghost, Thy grace inspire. From "Spirit of grace and union," p. 945, i. 3. Hail! ocean star, p. 99, ii,, as 1873. In the Birmingham Oratory Hymn Book, 1850, p. 158. 4. Lovely flow'rs of martyrs, hail. This is the 1849 text. His 1873 text is "Flowers of martyrdom," p. 947, i. 5. None of all the noble cities. From "Bethlehem! of noblest cities," p. 946, ii. 6. O Jesu, Saviour of the World. From “Jesu, Redeemer of the world," p. 228, ii. 7. 0 Lady, high in glory raised. From "O Lady, high in glory, Whose," p. 945, i. The Parochial Hymn Book, 1880, has also the following original hymns by Caswall. As their use is confined to this collection, we give the numbers only:— IS os. 1, 2, 3, 159 (Poems, 1873, p. 453), 209 (1873, p. 288), 299, 324 (1873, p. 323), 357, 402, 554, 555, 558, 569 (1873, p. 334). These are from his Masque of Mary 1858. Nos. 156, 207 (1873, p. 296), 208 (1873, p. 297), 518. These are from his May Pageant, 1865. As several of these hymns do not begin with the original first lines, the original texts are indicated as found in his Poems, 1873. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

Bernard, of Cluny

1100 - 1199 Person Name: Bernard of Cluny Hymnal Number: d19 Author of "Daily, daily sing to Mary" in Manual of Hymns for Congregational Singing, Prayers and Pious Practices Bernard of Morlaix, or of Cluny, for he is equally well known by both titles, was an Englishman by extraction, both his parents being natives of this country. He was b., however, in France very early in the 12th cent, at Morlaix, Bretagne. Little or nothing is known of his life, beyond the fact that he entered the Abbey of Cluny, of which at that time Peter the Venerable, who filled the post from 1122 to 1156, was the head. There, so far as we know, he spent his whole after-life, and there he probably died, though the exact date of his death, as well as of his birth is unrecorded. The Abbey of Cluny was at that period at the zenith of its wealth and fame. Its buildings, especially its church (which was unequalled by any in France); the services therein, renowned for the elaborate order of their ritual; and its community, the most numerous of any like institution, gave it a position and an influence, such as no other monastery, perhaps, ever reached. Everything about it was splendid, almost luxurious. It was amid such surroundings that Bernard of Cluny spent his leisure hours in composing that wondrous satire against the vices and follies of his age, which has supplied—and it is the only satire that ever did so—some of the most widely known and admired hymns to the Church of today. His poem De Contemptu Mundi remains as an imperishable monument of an author of whom we know little besides except his name, and that a name overshadowed in his own day and in ours by his more illustrious contemporary and namesake, the saintly Abbot of Clairvaux. The poem itself consists of about 3000 lines in a meter which is technically known as Leonini Cristati Trilices Dactylici, or more familiarly—to use Dr. Neale's description in his Mediaeval Hymns, p. 69—" it is a dactylic hexameter, divided into three parts, between which a caesura is inadmissible. The hexameter has a tailed rhyme, and feminine leonine rhyme between the two first clauses, thus :— " Tune nova gloria, pectora sobria, clarificabit: Solvit enigmata, veraque sabbata, continuabit, Patria luminis, inscia turbinis, inscia litis, Cive replebitur, amplificabitur Israelitis." The difficulty of writing at all, much more of writing a poem of such length in a metre of this description, will be as apparent to all readers of it, as it was to the writer himself, who attributes his successful accomplishment of his task entirely to the direct inspiration of the Spirit of God. "Non ego arroganter," he says in his preface, "sed omnino humiliter, et ob id audenter affirmaverim, quia nisi spiritus sapicntiae et intellectus mihi affuisset et afftuxisset, tarn difficili metro tarn longum opus con-texere non sustinuissem." As to the character of the metre, on the other hand, opinions have widely differed, for while Dr. Neale, in his Mediaeval Hymns, speaks of its "majestic sweetness," and in his preface to the Rhythm of Bernard de Morlaix on the Celestial Country, says that it seems to him "one of the loveliest of mediaeval measures;" Archbishop Trench in his Sac. Lat. Poetry, 1873. p. 311, says "it must be confessed that" these dactylic hexameters "present as unattractive a garb for poetry to wear as can well be imagined;" and, a few lines further on, notes "the awkwardness and repulsiveness of the metre." The truth perhaps lies between these two very opposite criticisms. Without seeking to claim for the metre all that Dr. Neale is willing to attribute to it, it may be fairly said to be admirably adapted for the purpose to which it has been applied by Bernard, whose awe-stricken self-abasement as he contemplates in the spirit of the publican, “who would not so much as lift up his eyes unto heaven," the joys and the glory of the celestial country, or sorrowfully reviews the vices of his age, or solemnly denounces God's judgments on the reprobate, it eloquently pourtrays. So much is this the case, that the prevailing sentiment of the poem, that, viz., of an awful apprehension of the joys of heaven, the enormity of sin, and the terrors of hell, seems almost wholly lost in such translations as that of Dr. Neale. Beautiful as they are as hymns, "Brief life is here our portion," "Jerusalem the Golden," and their companion extracts from this great work, are far too jubilant to give any idea of the prevailing tone of the original. (See Hora Novissima.) In the original poem of Bernard it should be noted that the same fault has been remarked by Archbishop Trench, Dean Stanley, and Dr. Neale, which may be given in the Archbishop's words as excusing at the same time both the want, which still exists, of a very close translation of any part, and of a complete and continuous rendering of the whole poem. "The poet," observes Archbishop Trench, "instead of advancing, eddies round and round his object, recurring again and again to that which he seemed thoroughly to have discussed and dismissed." Sac. Lat. Poetry, 1873, p. 311. On other grounds also, more especially the character of the vices which the author lashes, it is alike impossible to expect, and undesirable to obtain, a literal translation of the whole. We may well be content with what we already owe to it as additions to our stores of church-hymns. -John Julian, Dictionary of Hymnology (1907) ================== Bernard of Cluny, p. 137, i., is best described thus: his place of origin is quite uncertain. See the Catalogue of the Additional MSS. of the B. M. under No. 35091, where it is said that he was perhaps of Morlas in the Basses-Pyrenees, or of Morval in the Jura, but that there is nothing to connect him with Morlaix in Brittany. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)

E. Vaughan

1827 - 1908 Person Name: Edmund Vaughan Hymnal Number: d66 Author of "O bread of heaven, beneath this veil" in Manual of Hymns for Congregational Singing, Prayers and Pious Practices Vaughan, Edmund, C.SS.R., was born Nov. 26, 1827, at Courtfield, Ross, Hereford, and is now (1906) one of the clergy of Our Lady of the Annunciation, Bishop Eton, Wavertree, Lanes. He is the author of all (except No. 21, “Mary sings, the ravish'd heavens," which is by T. E. Bridgett) of the translations from S. Alfonso Maria de' Liguori, which were edited by Bp. Coffin in 1863 (see pp. 242, i.; 1577, i.). He is also the author of the following original hymns[died July 1, 1908]:— 1. God of mercy and compassion. Repentance. 2. Happy we, who thus united. The Holy Family. 3. Hark ! angelic songs resounding. St. Alfonso. 4. Holy Spirit! Fount of wisdom. Whitsuntide. 5. Let those who seek the world to please. The Holy Family. 6. Yes, heaven is the prize. Heaven. Of these Nos. 1, 2, 3, 5, 6 appeared in Hymns for the Confraternity of the Holy Family, 1854, in Hymns for the Year, 1867, and others ; while No. 4 is in the 1885 C.SS.R. Appendix to the Hymns for the Year, No. 336. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology, New Supplement (1907)